Chicano theatre's origin dates from the arrival of Spanish conquerers, including priests, in the 16th century. Most plays during this time were religious, and San Francisco and Los Angeles were prominent centers for Hispanic theatre. Thanks to railroads, Chicano theatre could spread all over the Southwest, and by 1920s, Chicano theatre flourished from Los Angeles to Chicago. Many musicals focused on Chicano issues, especially within the community, such as adapting to a predominantly white culture. It also catapulted many issues forward as a form of protest, such as farmer-workers rights or prejudice of cross-cultural living. Plays were used as a way to spread information and to band people together to fight against injustices placed upon them. Many of these plays were also performed in "Spanglish" -- basically becoming its own type of language. Some companies, however, will keep the two languages separate.
Cuban-American theatre came around during the 19th century in New York City and Tampa. Blackface farce was a popular form of theatre as well as melodramas. Like Chicano plays, Cuban-American plays liked to focus on the music as well. However, Cuban-American theatre really rose up fiercely during the riots for Cuba's independence and then the Cuban Revolution. Many playwrights focus on criticizing Fidel Castro and their longing for the land and culture they left behind. The next generation of playwrights focused on the generational gap between their immigrant parents and themselves and the cons of cross-cultural living.
Puerto Rican theatre definitely share elements with Cuban-American and Chicano theatre, such as focusing on issues with cross-cultural living and the generational gap between a child and their immigrant parents, however, what is unique about Puerto Rican theatre is that they also talk about what it is like to be a part of the United States but truly have no say in it. Puerto Rico is technically a colony of the United States and with that comes richness in theatre writing due to the hardships they endure do said status, specifically when they come onto the mainland. Theatre there began when PR was liberated from Spain, and writers across the island wrote about their hopes for the country -- soon dashed by American colonization. Puerto Ricans also do not support Spanglish in their plays unless the play specifically needs it as a plot device.
Cuban-American theatre came around during the 19th century in New York City and Tampa. Blackface farce was a popular form of theatre as well as melodramas. Like Chicano plays, Cuban-American plays liked to focus on the music as well. However, Cuban-American theatre really rose up fiercely during the riots for Cuba's independence and then the Cuban Revolution. Many playwrights focus on criticizing Fidel Castro and their longing for the land and culture they left behind. The next generation of playwrights focused on the generational gap between their immigrant parents and themselves and the cons of cross-cultural living.
Puerto Rican theatre definitely share elements with Cuban-American and Chicano theatre, such as focusing on issues with cross-cultural living and the generational gap between a child and their immigrant parents, however, what is unique about Puerto Rican theatre is that they also talk about what it is like to be a part of the United States but truly have no say in it. Puerto Rico is technically a colony of the United States and with that comes richness in theatre writing due to the hardships they endure do said status, specifically when they come onto the mainland. Theatre there began when PR was liberated from Spain, and writers across the island wrote about their hopes for the country -- soon dashed by American colonization. Puerto Ricans also do not support Spanglish in their plays unless the play specifically needs it as a plot device.